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There are 21 critical essays on Death in Venice.
Critical Essays on Death in Venice
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 Critical Essay by Gary Schmidgall
12,543 words, approx. 42 pages
 In the following essay, Schmidgall asserts that Death in Venice was inspired by Mann's homoerotic attachments to younger men, which continued until the end of his life.
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Critical Essay by Dorrit Cohn
9,692 words, approx. 32 pages
In the following essay, originally published in 1983, Cohn examines the relationship between the narrator and the protagonist in Death in Venice.
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Critical Essay by John Burt Foster, Jr.
7,646 words, approx. 26 pages
In the following essay, Foster maintains that Death in Venice begins to “look beyond the elite English and American literature of the period, glimpsing possibilities for cultural multiplicity and interaction that avoid the shackles of grandiose, self-imposed mythologies.”
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Critical Essay by Giuliana Giobbi
5,210 words, approx. 17 pages
In the following essay, Giobbi finds parallels between Death in Venice and Gabriele D'Annunzio's Il Fuoco.
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Critical Essay by Richard White
5,191 words, approx. 17 pages
In the following essay, White regards Death in Venice as a meditation on the themes of art, beauty, love, and death and argues that the novella can be read as a “powerful response to Plato and every other philosopher who has argued in favor of the redemptive power of art.”
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Critical Essay by Cynthia B. Bryson
5,132 words, approx. 17 pages
In the following essay, Bryson contends that Aschenbach enters an extended dream-state in Death in Venice and touches on Mann's interest in Freudian dream theory.
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Critical Essay by Ritchie Robertson
4,991 words, approx. 17 pages
In the following essay, Robertson argues that in Death in Venice Mann “dramatizes the strengths, the weaknesses and the pitfalls of classicism, in its different versions, through the career of a writer dedicated to a classical ideal.”
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Critical Essay by Kurt Fickert
4,585 words, approx. 15 pages
In the following essay, Fickert elucidates autobiographical aspects of Mann's Death in Venice.
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Critical Essay by Rudolph Binion
4,290 words, approx. 14 pages
In the following essay, Binion discusses Aschenbach's preoccupation with death and “his headlong rush to meet it” in Death in Venice.
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Critical Essay by Laura Otis
2,866 words, approx. 10 pages
In the following essay, Otis discusses similarities between Death in Venice and Robert Koch's 1884 articles on germ theory.
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Critical Essay by Charlotte Rotkin
2,620 words, approx. 9 pages
In the following essay, Rotkin considers a series of polarities in Mann's life and work and maintains that Death in Venice “reveals Mann's abiding concern with the artist's responsibility regarding the form and function that his life and art assume.”
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Critical Essay by R. F. Fleissner
2,089 words, approx. 7 pages
In the following essay, Fleissner considers the influence of Shakespeare's The Merchant of Venice on Death in Venice.
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Critical Essay by Charlotte Rotkin
1,671 words, approx. 6 pages
In the following essay, Rotkin explores the allegorical significance of the sea creatures in Death in Venice.
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Critical Essay by Rita A. Bergenholtz
1,066 words, approx. 4 pages
In the following essay, Bergenholtz maintains that Aschenbach, the protagonist of Death in Venice, “is not a romantic artist-hero but a parody of one.”
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Critical Essay by Bernhard Frank
708 words, approx. 2 pages
In the following essay, Frank elucidates Mann's reference to the mythological figure Phaeax in Death in Venice.
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